THE standpoint of style seems a very convenient one
for getting a good view of sundry subordinate matters
connected with music, and of phases of art about
which views are held which are sometimes vague
and sometimes very decisive and strongly at variance.

One of these is the awkward question of theory,
which seems almost to require an apology for mentioning. But however great the instinctive distaste for
it which generally exists, it must be admitted that it
looms very large, and has played a great part in the
history of our race!

It may indeed be admitted that it is one of the
hopeful signs of the times, in every department of
intellectual energy, that practice and the experience
founded on practice are more and more looked to
both as the basis of method and the guide of action.
But unfortunately in connection with music theory
still engages the attention of a vast number of serious-
minded people; and its influence is so great that,
irksome or not, its consideration cannot altogether be
avoided.

A theory may be presumed to be intended to be
a comprehensive and coherent explanation of why
things are what they are. Our pre-eminently useful

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